Magical Egypt Series Two attempts a forensic reconstruction of the Science of the Ancients through a study of Ancient Aesthetics. As part of this investigation the Magical Egypt research team discovered a hidden message that speaks in a language familiar to artists and esotericists. A language that is capable of transmitting a bewildering variety of highly technical schematics and symbols.
One of the central ideas that have emerged from this research is the concept or symbol of the union of opposite polarities to produce an offspring that is the emergent property of the synergy of the two polarities.
This union is archetypal, it happens on all registers, physical, subatomic, cellular, biologically as parenthood, and even as Gary Osborn pointed out, on the register of the polarities of consciousness itself, as waking and sleeping states briefly combine to form the door to the hypnogogic state.
Iain McGilchrist draws attention to the interesting fact that were one to create a rough schematic of consciousness itself, it would broadly correspond to the physical structure of the hemispheres and the joining architecture, the Diencephalon and the corpus callous, which is the physical mechanism or structure that acts as the switcher between the inverse voices and modes of operation of the right and left hemisphere, which have often been called The Eternal Adversaries.
One of the things that each researcher, in their own way, found weirdly interesting, was the way that consciousness or mind mimicked the physical architecture in the brain, but furthermore that same schematic relationship of hemispheres abridged by biological architecture was quite overtly expressed by the symbolic or didactic architecture of the temples. And as stated previously, there was a special symbolic emphasis on the exact point in the architectural schematic where the biological systems conjuncted, and which many ancient cultures all recognised as an important and perhaps even mystical centre of consciousness.
An illuminating example of this idea found by Gardner is a statue found in the Cairo Museum of Horus and Set standing at either side of Ramses, indicating to his right and left hemispheres. The sculpture invites the viewer to make the connection; the traits of Horus correspond to the right hemisphere, or "polarity" of consciousness, those of Set, to the left. The more one understands about the biology and function of the individual hemispheres, the more the symbolism bears out. One can see the schematic contained in their dynamic relationship as eternally paired enemies, with seemingly inverse objectives. This powerful image also conveys the importance of occupying a powerful stance of control between the two inverse "forces" we all have in our heads.
This statue and its associated mythology create an impressively insightful schematic. One that not only imparts understanding of one component of consciousness, as embodied in an individual god, but also shows the role it plays in the overall operations of consciousness. In other words, first it shows you what it is (form), then it tells you what it does (function).
Seen in this sense, Horus and Set act as a remarkably accurate model to schematise one of the biggest structural and functional features in human consciousness: the division of a single brain into two distinctly separate hemispheres. This physical scission is mirrored in the operation of the brain, and effects our consciousness in such a fundamental way that it very much defines who we are. The two hemispheres are not only structurally different, but they operate very differently.
The left hemisphere is best suited to a micro-focus, operates in language, is literal and linear, list oriented, and is hierarchical. It deals with issues of past and present. It craves rules and operates best when a pre-determined sequence of responses is required. It often attempts to usurp the decision making role of the right brain and often lies to itself.
The right brain is literally the opposite. It is non-linear, uses webs of association, speaks in symbols and geometric relationships, rather than linear language. It is responsible for the recognition of beauty and meaningfulness, and appreciation of the "big picture". It is the centre that produces ideas or images from nothing, the creative spark. The right brain is a notorious disregarder of rules. It has no regard for time, and it's awareness is only of the eternal NOW.
While the left hemisphere is concerned with accumulating facts and sorting them in hierarchical order, the right brain is the domain of associations and context - of meaningfulness. This makes it the polarity of understanding. Of perceiving the underlaying meaning behind and between things. This ability to create geometric thought structures means literally the difference between opinion and fact. Between guessing and knowing. Between a random cloud of opinions and a rational, well constructed "thought form".
From the schematic presented by Horus and Set, we also learn the optimal configuration of this relationship. Horus, the rightful ruler, the ever vigilant guardian against the encroachment of evil, physicality, our animal nature. Avenger of the killing of his father Osiris. When Horus is triumphant, the emergent property is enabled.
Research is ongoing, and it is yet to be determined how detailed and how far the correspondences go but from this organised study of correspondences within the ancient art, Chance Gardner, Gary Osborn, and Brad Klausen found ample evidence to demonstrate the existence of a previously unrecognised science coded into the art and architecture of the ancient world, albeit one with a very different focus than ours today.
In 1979, harkening back to the classical opinion of Ancient Egypt John Anthony West concluded that the whole of Egyptian civilisation was based upon a complete and precise understanding of universal laws, and this profound understanding manifested itself in a consistent, coherent and interrelated system that fused science, art and religion into a single organic unity. Now Gardner, Osborn, and Klausen corroborate and expand West’s research by demonstrating that the art, statuary and architecture, and in fact the entire cultural aesthetic of the ancient Egyptians was in service of transmitting a scientific message. One that employs an ingenious visual language of correspondence as a method of “schematizing” both the biological systems that result in the experience of consciousness, and perhaps even more astonishingly, the architecture of consciousness itself. Since at the current time, modern science cannot arrive at a consensus about what human consciousness even is, the discovery of this ancient message and this ancient corpus of consciousness-centric science may be something akin to the discovery of the long lost Owner’s Manual for the human mind.
Curiously, and of special interest to artists, the purest most concise form of expression of some of the deepest structural mysteries of the universe involve the sacred geometry that is everywhere expressed in the physical world and as Freemasonry reminds us, also play a centrally important role on the higher registers of mind and in creating ever more refined states of consciousness.